Koechlin is Koechlin

If I had a time machine and could choose only one time and place to visit, it would be Paris just past the turn of the 20th century: simplistically, the time of the "Impressionists." I would have to pick the exact time very, very carefully – an idea to savor. I am tempted to say I would like to be there for the 1913 premier of Le sacre du printemps. I would catch a late Debussy, just after his second book of Preludes, Ravel in his prime, Fauré was running the conservatory, losing his hearing, and Erik Satie was the musical bad boy of the day. Poulenc was 14 – still a kid – and wouldn't begin the serious study of music with Charles Koechlin for another eight years.

Charles Koechlin! Now here is one seriously overlooked composer. If you love the above names, as I do, and don't know Koechlin, you are in for a real treat. I first ran into his music two years ago, when I wrote about his first two string quartets. I listen to these frequently, often wondering why I didn't have more of Koechlin's music. That is almost worth a discussion by itself: it is difficult to choose recordings of poorly known composers performed by unknown musicians. It requires a leap of faith.

I took a leap of faith when I ordered three CDs of his piano music, performed by Michael Korstick. All three fill that void of there not being enough music of that period: nearly every piece is unique and a treasure. There is a desire to pigeonhole Koechlin's music, to say he is "like Debussy" or "like Fauré," or whomever. The truth is, Koechlin shares the best attributes of all these favored composers, but is not beholden to any of them. Koechlin is Koechlin.